We may not be able to give you that official Red Ryder carbine-action 200-shot range model air rifle with a compass in the stock, but we can give you the December Issue!

2010 isn’t over yet! And we at Spark wanted to conclude this year with a bang. In this issue there is a gift for everyone. For the crafty and clever, learn how to reinvent your wardrobe with a new section of our magazine, Do It Yourself. Each month we will teach you a simple way to modify your everyday look. For the edgy and chic, our editorial this season is not-so-nice as we photographed some villainous fiends. For the aficionado of all things related to shopping, we wanted to share the good news of H&M’s new store location in Dallas and their collaboration with Alber Elbaz. And for those individuals who are simply wild about Christmas, we did include some trendy holiday gift ideas!

So enjoy this holiday season and our gift to you as we ignite your imagination through pages bursting with fantasy and pleasure.

LETTER FROM THE EDITOR

Managing Executive Editor

OUR TEAM

IAN MILAN Co-Founder, Editor-in-Chief

Co-Founder, Managing Executive Editor AUTUMN ASHLEY

CHRIS NGYUEN Head of Production, Head Photographer

Lisa Siva

Writing Staff Production Staff Andie Salazar

Arianna Gazis

Ayanna Estelle

Jarie Maldano

Rachel Core

PR Staff Jocelyn Lo

Emily Gossen Roberta Izquierdo

Batli Joselevits

Shirley Luong

Contacts Bobby Jenkins

Jenny Choi

Edited by Autumn Ashley

We all may dream of a designer label resting against the back of our neck, waterfalls of silk, armfuls of fur, perfectly pressed darts and fluctuating ruffles with so much body they put a Garnier Fructis commercial to shame. But let’s be realistic, unless your last name is Hilton, Roberts, or Diaz, and your Manolo Blahnik's have tread the red-carpeted walkway to the Golden Globe Awards, your closet is probably more stocked with wishful thinking than hand-beaded bodices and alligator skin boots. That's where H&M comes in. It’s always nice to turn over a price tag and read numbers that don't make an innocent shopper’s heart stutter, and the Swedish company has gained a reputation for providing current fashions at reasonable prices. But it has also come to bridge the gap between the masses on a budget and those highly coveted designer labels.

Since 2004, H&M has collaborated with a slew of high-profile designers and labels such as Karl Lagerfeld, Stella McCartney, Comme des Garçons and Jimmy Choo. And as of last month, a new alliance joins the list: Lanvin The Lanvin for H&M collaboration, which is titled Lanvin Hearts H&M, has been nothing if not a tease from the start. To kick it off, a series of short clips were released with the intent to build public curiosity over the identity of H&M’s newest designer collaboration. The clips, which are less than a minute apiece, feature shots of designer-type figures shown from every angle except that which would reveal their faces, speaking about their experience working with H&M. There are detailed shots of fiddling fingers and twirling hair, a clicking pen and fidgeting feet, ending with each figure fading to a black silhouette and advertising the revelation date of Sept. 9.

The partnership with Lanvin was actually announced Sept. 2, earlier than expected, and since that moment eager fashion addicts were frothing at the mouth for more information and a peek at the goods. The teasing tidbits about the collection and months of waiting created suspense, eager anticipation and a peaked interest among customers, and on Nov.2, three weeks before sales began, the line was revealed to the public eye through a short film featuring the garments. The collaboration represents an inexpensive extension of Lanvin and a pricier-than-normal selection of H&M, ranging from $149 to $249 for a dress to $99 for a pair of heels with ribbon-wrapped ankles. The women's designs includes everything from a sheer black jacket to piles of pearls and pendants, while the men’s designs feature a modernized tuxedo, blazers, metallic lace-up shoes and Lanvin artistic director Alber Elbaz's signature oversize bow ties. The collection is, as Elbaz described it in an H&M interview, “a happy collection for happy people,” full of voluminous ruffles and jeweled tones. The pieces, dresses specifically, are clearly inspired by and derived from current and past collections of Lanvin ready-to-wear. The designs include many of the signature touches that have come to be known as Elbaz's trademarks such as ribbons, pearls, unique cuts and shapes.

The short film itself, which can be found on the H&M website, is set in an eerily surreal hotel where women traipse down the hallways, talking and thinking in speech bubbles and demanding "Lanvin, not flowers!" from men also garbed in the collection. Every so often the video switches between a younger version of Elbaz, scribbling away at a pile of designs, and the older, rounder version of the present, both accented with an over-sized red bow tie. A look book and price list of all the items is also available online with further details. After all the waiting, teasing and built-up hype, Lanvin-addicts were finally able to get their hands on the pieces starting Nov. 20 in North America and Nov. 23 worldwide. Those serious about buying from the line had to mark their calendars and set their alarms though, because the much-anticipated collection was expected to sell out the day sales began, and once it was gone, it was gone for good. Elbaz made it clear that there would be no restocking.

The designer has never been keen on the idea of taking the exclusive beauty and prestige of Lanvin and turning it into a mass market collection. The collaboration instead was intended to take H&M to a new level of luxury and introduce a taste of high fashion to those who normally aren’t able to afford it. Elbaz saw it as generosity, not a stepping stone to a permanent, more reasonably priced line. Customers can further get inside Alber's head through a series of short black and white interview segments on the H&M webpage. In them he documents the moment he got the phone call proposing the collaboration and the reasoning behind it. He discusses his desire to introduce the collection to a woman more mature than the young generation, he feels, H&M targets. He gives consumers a look behind the backstage curtain of the show. Generally clothing stores expect an unruly crowd outside their doors at 5 a.m. only a few days a year, but the rush for the collection was expected to be so frantic that H&M stores stocking it designed specific shopping regulations for the Lanvin women's wear area, which were detailed online under a section titled "How to Shop Lanvin for H&M."

In short, those who camped out before the store opened were to form a line. The first 320 dedicated shoppers were split into 20 person groups and designated a colored bracelet imprinted with the time bracket that they were allowed to enter the Lanvin women’s section and shop. When their time slot arrived, customers could enter the area and shop for 15 minutes. Those buying from the men’s collection were given free rein. A shopping limit was placed as well. For the entire collection, each person could only purchase two of a certain product, such as two sizes of the same dress. This regulation was intended to allow the largest number of customers to buy the garments, as well as to prevent clothing from being resold on websites like eBay.

Those who didn’t make it into the 16 groups were permitted to browse the rest of the store, and the Lanvin men’s collection, until the groups had finished pillaging. At that point, what was left of the women’s clothing was opened up to be shopped by all. Beyond the limited quantities, the collection was only offered at specified physical locations. While the men’s clothing was offered in every location except Costa Mesa, CA., the women’s clothing was only in 13 locations. Seven stores were in various California cities and six were in New York City.

The high-profile collaboration has grabbed the attention of the fashion world and gained publicity for both Lanvin and H&M. But beyond designing the collection, Elbaz has designed a special bag for the store to support UNICEF's All for Children Campaign as well. The bag also debuted on Nov. 23, and is sold in every H&M womenswear store with 30% of the sales profit going to the campaign. All for Children was a joint project that began in 2009 with a $4.5 million donation from H&M and the goal to target children laboring in cotton production. The effort specifically focuses in southern India's largest cotton-producing area, where 1.2 million children live, Tamil Nadu. The campaign aims to take children working in cotton production and place them in schools, as well as to improve their health care. The Lanvin bag is made of special organic cotton, and is the fifth bag designed for UNICEF. So with all the Lanvin H&M love going around and no physical locations in the state, what’s a Texan to do? Luckily, by the end of 2011 and hopefully in time for the next big collaboration, H&M plans to have opened its first location in the lone star state in Dallas. It will be in the NorthPark Center in an approximately 24,000 square-foot space. And it’s about time. Those of us not roping cattle on the ranch wouldn’t have minded parking our horses and camping out for a little piece of Lanvin for H&M too.

By Andie Salazar

Photos h&m.com

STYLE ICON :

Coco Rocha is anything but your everyday supermodel. Her status as a style icon and role model can be credited to nothing less than her relentless sincerity and strong voice within the fashion world. From river dancing down a runway to her strong stance on health within the fashion industry, Coco exhibits her unique and independent approach to fashion.

The Canadian native got her humble start in 2002 at an Irish dance contest when she was scouted at the early age of 14. At that point, she knew nothing about fashion; neither could she imagine walking the sacred runways for shows such as Chanel, Dior, Anna Sui, and most memorably, Jean Paul Gaultier.. Her big break came when she was featured on the cover of Vogue Italia in 2006, and soon after she was sought out for a photo shoot by Steven Meisel. Thus far, Coco was able to keep her personality intact and not get overly swept away in the glitz and glamour we all know the fashion industry exudes. Perhaps it was this sense of sincerity that compelled Naomi Campbell to deem Coco her new favorite during 2006 spring/summer Fashion Week- a compliment only bestowed on the truly deserving. The following year Coco became the first model to dance her way down the catwalk for the 2007 Jean Paul Gaultier show. This moment in fashion history sparked Coco’s already rising demand and landed her on the cover of American Vogue as one of the new “It girls” of fashion.

Edited by Autumn Ashley

However, being at the top of the fashion industry was not easy. Even at her thinnest, the 108 pound 5’10” model was told to lose even more weight. It was then, with her newfound power, that Coco began to speak against the unrealistic “stick-thin” body archetype sought by the fashion industry. Growing the confidence to continue living a healthy lifestyle rather than succumbing to the `industry’s expectations was a difficult, but conscious choice Coco made and has led her to be a part of Seventeen magazine ‘s “Body Peace Council,” . As a member of the council Coco gives advice on the blog encouraging young women to have healthier and more positive self-images. Being an active participant in this campaign is a perfect opportunity for her to reach girls around the world and to share insights of the importance inner-beauty should play on a daily basis. Her cause is an issue that is so heavy-laden in today’s society. Promoting a healthy image and style could not have had a better spokesperson than by a model that stood up to the industry itself on the matter of her own weight. The personal anecdotes of overcoming her fear of approval and building self-confidence is refreshing and inspiring to hear from a woman so in-the-moment of style and fashion.

Coco’s strength and sensibility is inspiring and has won her the love of many friends. In fact, when she tied the knot with British interior designer, James Conlan, Coco’s close friend, Zac Posen, designed a gown especially for her big day. The dress itself was under wraps for a long time before and even after the wedding, with no details or close up photos of its design. It has been described mostly as looking like an upside-down martini glass with off-the-shoulder sleeves, tight bodice, and extreme mermaid-styled tulle jetting out from her knees down It truly seemed like a dress—and wedding—fit for a princess, and Coco is definitely a princess and a positive role model within the Fashion Industry

What she has accomplished for young girls and women everywhere is something that goes far beyond the entertainment of jigging down a runway or appearing as one of the most prevalent and successful models of this generation. What embodies her persona of a style icon goes beyond the wardrobe and class to reflect her lifestyle.

By Arianna Gazis

Looking Backward:

Celebrating 90 Years of

French Vogue

Edited by Autumn Ashley

If American Vogue is fashion’s equivalent of Hollywood, then French Vogue is the indie scene: famed for its daring, no-holds-barred editorials. The August 2008 issue featured Raquel Zimmerman draped in fur, brandishing the finger at PETA activists – and its spot-on, trend-making elegance. French Vogue, unlike its American counterpart, forsakes bland covers of celebrities with a film to promote. It instead gives fashion something to consider, to be angry about, and to celebrate. In fact, French Vogue has a good reason to throw a party, as 2010 marks its ninetieth year of delivering fashion with its characteristic panache.

In the aftermath of the magazine’s masquerade ball to honor the occasion, Spark takes a look at almost a century of incredible fashion.In 1920, American Vogue had already been in existence for eleven years, but it was in June that its younger French sister took its first breath. Costing a total of four francs, French Vogue sought to promote a vibrant culture after the devastation of World War I. The aftermath saw women with newly emancipated roles in society, so it was no coincidence that the magazine hoped to reinvent the modern woman.

Fashion was also inextricably linked to the effort to rebuild the country, and French Vogue covered the first postwar fashion show, led by the Committee for Devastated France.

Even in its very first issue, French Vogue made it clear that it would distinguish itself from its counterpart across the Atlantic. In an article entitled, “We Speak French!” the magazine declared, “Little by little, we will approach the French ideal and eliminate all that is too particularly American.” However, the issue was not so much a polemical as a cultural movement to appeal to women who found themselves newly liberated.

Eschewing the commercialism and superficiality often mistakenly attributed to fashion, the first issue of French Vogue celebrated strong women, such as Evelyn Marshall Field, who was not only a famed hostess but who also ran a political sciences school out of her home. “At the feet [of our readers] we leave today the first issue of this Vogue that has only one goal: to please them.” And please them, French Vogue did. The magazine has continued to delight and shock its readers since its release, living up to its promise of a new and independent wave of fashion.

French Vogue nevertheless demonstrated an acute awareness of the changing social conditions. As the bourgeois class became increasingly predominant in society, the magazine sought to appeal to its new nouveau riche audience. Readers today may think that fashion’s preoccupation with fitness is a development of the twenty-first century, but French Vogue in the 30s proves otherwise. The April 1933 issue, for example, highlighted the bourgeois fascination with health in an article about exercises for women, excursions to the Mediterranean sea, and hunting on horseback.

That is not to say that French Vogue abandoned fashion for the sake of social interest. The early issues of French Vogue established the magazine as a prescient trend-setter, running stories like “The Interest of Shoulders,” which called to attention the famous bold shoulder that endures today in designers like Balmain and Maison Martin Margiela. French Vogue also pointed out the popular trend of orientalism that was particularly dominant in France, as well as in other European countries. This prevailing theme manifested itself in luxurious wraps and so-called “oriental silhouettes” that revealed the “svelte feminine figure.”

Fabrics were allowed to cling to the body, to drape elegantly, showcasing feminine beauty. Interestingly, the oriental trend is still very much an influence that informs the aesthetic of many designers, including Vivienne Tam and Etro. One of the most incredible aspects of French Vogue is that, despite its sensuality, luxury, and tendency toward fantasy rather than realism, the magazine is something of a champion for the power of femininity. From Audrey Hepburn, first ridiculed for her unusual look and body shape, to the curvy, famously gap-toothed Lara Stone, French Vogue has redefined and celebrated beauty in

its many forms. Since 1920, it has captured the notions of femininity as they have changed over time, so that a look back at French Vogue’s covers is like a glimpse of the evolution of beauty. It’s not much of a stretch to claim that every iconic woman who has touched the fashion industry has a French Vogue cover, and Jane Birkin is no exception. Moving out of the era of waifish looks as typified by Audrey Hepburn and Twiggy, French Vogue introduced Jane Birkin as a new type of beauty, both sensual and untouchable, La Femme Frigide, or the Icy Woman. After making her debut into the

swinging London period, the fashion and cultural Golden Age of the 60s, Jane Birkin appeared on the May 1969 cover. Shot by Jeanloup Sieff, the cover showcased Birkin’s piercing gray-blue eyes, contrasted by a cascade of soft, auburn waves and – of course – her signature fringe. The image had a little bit of rock and roll, girlish youthfulness, and a heaping dose of sensuality that together epitomized the new beauty – effortless yet powerful. Some things, though, never change. For example, the October 1971 cover, shot by Sveeva Vigeveno, featured Bridget Bardot in a no-frills headshot that captured her famed

sensual beauty. This pure femininity of the cover still echoes in French Vogue today, as evidenced by the March 2008 issue, which used no model other than Lara Stone. The warm color palette, the irresistible stare, and the simplicity all pay tribute to French Vogue’s strong, modern woman who embraces sensual beauty.

In August 1988, Naomi Campbell became the first black model to grace the cover of French Vogue, finally fulfilling the magazine’s promise to showcase diverse forms of beauty. Shot by Patrick Demarchelier, Campbell sports a fitted blazer and embellished felt hat, a nod to

the beauty and femininity of seemingly androgynous pieces. Naomi Campbell is not, of course, the only supermodel to appear as the face of French Vogue, and the supers who have graced the cover have done and continue to do it with panache. Rarely ever featured in the staid, airbrushed light of American Vogue, the supermodels appear the way they do best: full of the life and personality that made them super. American Vogue had Christy Turlington draped in an evening gown and smiling demurely into the camera for August 2009. By contrast, Turlington returned to French Vogue in October 2008 with her tongue out,

wearing an oversized argyle sweater and chunky gold chain necklace. At the same time, one of the reasons why French Vogue is so intriguing is that it recognizes that the realms of beauty and fashion are but aspects of the larger world of art. As early as 1933, the magazine sought to return fashion to its rightful place among other creative endeavors. To that effect, the April issue featured a series of poems by the French Symbolist Stéphane Mallarmé, illustrated by the famed Henri Matisse. Another particularly memorable issue was December 1971/January 1972, which featured Marilyn Monroe. This cover would not be particularly surprising

were it not for the fact that Monroe is styled as a balding man, whose beauty is nevertheless apparent, and rendered by Salvador Dali. Similarly, in 1983, French Vogue gave free reign to Andy Warhol, who placed a vibrant and fiery sketch of Princess Caroline of Monaco on the cover. French Vogue has always had a symbiotic relationship with the art world, elevating fashion beyond its stereotype of materialism and transforming it into a truly memorable creation. Of course, the magazine could not have achieved its level of success without a pantheon of incredible editors who knew talent when they saw it.

Edmonde Charles-Roux took up French Vogue’s reins in 1954, bringing her literary expertise as a journalist and novelist to the magazine. Charles-Roux was truly a Renaissance woman, who served as a nurse during World War II, was wounded twice, and received a Cross of War from the French government. A member of Maurice Duruon’s literary circle, Charles-Roux offered French Vogue the intelligent style for which the magazine is still known today. Francine Crescent followed Charles-Roux in 1968 and infused the magazine with its daring streak.

Just as the sexual revolution took off in the late sixties, Crescent recognized the work of Helmut Newton, who had fled from Germany just before World War II. Criticized for his provocative photographs, the self-proclaimed “bad boy of photography” brought to French Vogue a sensual aesthetic that has never left the magazine.

This spirit of innovation continued at French Vogue with Colombe Pringle, under whose editorship the magazine discovered fashion photography heavyweights Peter Lindbergh and Steven Meisel.

Lindbergh’s narrative style and Meisel’s dark aesthetic brought French Vogue’s editorials to life –rather than a series of poses, each spread became a story. Joan Juliet Buck succeeded Pringle in 1994 and reenergized the magazine, expanding its circulation and devoting whole issues to surprising themes, including theater and quantum physics.

Currently at the helm of this ship of style is Carine Roitfeld, whose revolutionary touch is très à propos for French Vogue. For Roitfeld, each editorial is more than a showcase of designs - every shoot is a story, in which the

“I do a movie in my mind,” said Roitfeld in an interview with New York Magazine. “Who is this girl?” Roitfeld makes it clear that she is not concerned with making fashion accessible – fashion is a dream, not a concept tidily reduced into columns about what to wear at every age. On the rare occasion that French Vogue features a celebrated actress – the last one before 2010 was five years ago – it is always with an eye for high fashion rather than marketing. This September, Marion Cotillard was almost unrecognizable in her haunting, gray-green smoky eye and deep, plum lipstick, a far cry from, say, a light, airbrushed image of Blake Lively at the beach

French Vogue today is synonymous with an avant-garde brand of sensuality. Sure, readers will find a plethora of revealing and provocative spreads, but Roitfeld manages to stay on the other side of vulgar with elegance and a good dose of androgyny. “I love the combination of a masculine piece with a feminine piece. It’s very French, It’s very sexy.” It’s advice that readers – French or otherwise – can take to heart: a fitted blazer can give an edge to an otherwise feminine look, while trousers are the perfect complement to a silky blouse. Before her editorship and Vogue, Tom Ford took Roitfeld on as his muse at Gucci and then Yves Saint Laurent. And once a style icon,

Her look, she says, is “very sexy, but very woman, and always some rock and roll, eh?” The legacy of the magazine’s modern woman concept continues with Roitfeld’s signature sharp silhouettes, killer heels, and unabashed iconoclasm that seeps into the magazine’s pages. A shot by Hedi Slimane might draw from YSL’s Le Smoking to create an androgynous look for October 2008, while the 90th Anniversary cover features Lara Stone wearing only a pair of gloves and a lacey mask over her eyes. From the 1920s to today, French Vogue has given readers what intrigues them most about fashion and art – but always in the form they least expect.

WRITTEN BY LISA SIVA

Designer of

the Month

ELBAZ Legacy

He is known for his attention to the feminine aesthetic with cocktail-length frocks, and blend of hard lines with soft silhouettes.

Education

Elbaz took a course at Shenkar College of Textile Technology and Fashion. Was also mentored by and worked for Geoffrey Beene.

Written by Ayanna Estelle

Edited by Autumn Ashley

You Will Need:

Black Ribbon Needle threader Black spotted feather Rectangular hair clip Super glue/craft glue White plastic netting Scissors

Cut a strip of black ribbon and wrap it around the hair clip. Glue ribbon into place.

+ Cut two triangles out of the white plastic netting.

=

+ = Put glue onto back of the feather and place on top of white plastic netting.

Place glue on back of needle threader and place on top of the spotted feather.

Created by: Autumn Ashley

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1) The Sartorialist by: Scott Schuman. Coffee table book of fashion photography. $25.00 BookPeople

2) Men’s Penfield down jacket, $340.00 Stag

3) All those ruffles heels, $39 Strut

4) Lock and Key earrings, $6 Strut

5) Bumble and Bumble Crème de Coco Shampoo, $21 Luxe Apothetique

6) Bumble and Bumble Crème de Coco Conditioner, $22, Luxe Apothetique

7) One sweeping motion dress, $36 Strut

8) Men’s cable knit beanie, $30.00 Stag

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9) Nesting Bird printed pillow, $90 Adelante

10) Velvet Blazer, $118, Maya

11) Men’s cable knit scarf, $50.00 Stag

12) Teddy Bear Cocktail Bag, $48.00, Urban Outfitters

13) Men’s Forge bow tie, $65, Stag

14) Gold octopus charm necklace, $14, Strut

15) Gold octopus charm necklace, $14, Strut Kathmandu green peace hemp bag, $24.99, Tyler’s

16) Toddland Moustache Wallet, $24.00, Urban Outfitters

17) Cuffs, House of Eberstein, $54-$64, Parts and Labour

18) Your Zenzational Spa gift set, $60 Whole Foods Market

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19) Embellish gift card, $35, Embellish Nails and Boutique

20) Sequin shorts, $41 Maya

21) Essie Winter Collection nail polish set, $17 Luxe Apothetique

22) Cats not kids graphic tee by furtureman graphics, $26 Parts and Labour

23) Assorted vintage men’s tees and boots, prices vary, Prototype Vintage Design, Mens

24) Assorted vintage fur coats, prices vary, Prototype Vintage Design, Women’s

25) Masonry Bag –Purse, $87.50 - $125.00, Design Within Reach

By Rachel Core

Edited by Autumn Ashley

CREDITS

Special Thanks to:

©2010 Student Fashion Cooperative

Wilhelmina Brown: Models

Jeffery English: Make-up

Curt Darling: Hair

Prototype

1700 1/2 South Congress, Austin, Texas 78704

www.wilhelminabrown.com

Justin Plant: Hair

http://nymag.com/fashion/08/spring/44215/ (Carine quotes) http://www.bryanboy.com/bryanboy_le_superstar_fab/2008/07/viva-carine-vogue-paris-august-2008-reality-show---raquel-zimmermann.html http://models.com/work/vogue-paris-vogue-paris-october-2008-cover/1782 (Turlington cover, French Vogue) http://www.academie-goncourt.fr/?membre=1016642741 (Edmonde Charles-Roux bio) http://www.all-art.org/history658_photography13-27.html (Francine Crescent + Helmut Newton) http://www.independent.co.uk/arts-entertainment/a-woman-of-taste-and-influence-in-the-first-of-an-occasional-series-about-insiders-who-have-subtly-changed-the-course-of-fashion-irene-silvagni-one-of-the-most-idiosyncratic-editors-to-have-worked-at-french-vogue-talks-about-her-long-career-her-passion-for-photography-and-her-most-recent-role--as-the-european-envoy-of-the-japanese-designer-yohji-yamamoto-1434560.html (Lindbergh + Meisel) http://www.nytimes.com/2009/09/17/fashion/17BUCK.html (Joan Juliet Buck) http://cyanatrendland.com/wp-content/uploads/2008/11/french-vogue-72010_afro02_123_719lo.jpg http://www.mode-blog.eu/wp-content/French-Vogue_October-2007.jpg http://media.onsugar.com/files/ons/183/1837327/38_2008/image_1381.jpg http://2.bp.blogspot.com/_B6J6nGs6VwA/Sha4i2NuHPI/AAAAAAAAViw/XHrtoUwF-Ls/s400/French+Vogue+March+2007+by+Inez+and+Vinoodh.jpg http://images.teamsugar.com/files/upl0/18/182057/04_2008/8.jpg http://3.bp.blogspot.com/_B6J6nGs6VwA/Sb-hg842fgI/AAAAAAAARvk/rFX9ogVbc8s/s400/French+Vogue+editorial+December+2005.jpg